Actually, I figure Glenn and Sally will grow up to be Martin Sheen and Sissy Spacek on a killing spree through South Dakota.

The MAD MEN season finale was one of the most elegiac tv shows I've ever seen. And the suicide of Lane, along with Don's "release" of Megan (fantastic tracking shot) triggers the return of the philandering, hallucinating Draper.

Awww, Glenn is a little odd, but I don't think he's a bad kid at heart.

Sally Draper, now, she's had some burrs shoved under her saddle the last few years. Not bats in the belfry; she's smart and observant. But she's being primed to rebel big time, and I predict she's going to be getting on a bus to San Francisco one of these seasons. Maybe she'll have Glenn with her.* * *Wilfred begins season two next week, and Futurama starts another season as well.

I've been enjoying the Punk Britannia shows on BBC 4 immensely. Last night's one, about post-punk bands, was excellent. I'm an old-fart, and I will love those years till I die; I don't care if I see them through rosy-tainted nostalgia-glasses. Public image Limited's first single still brings up the goosebumps on me. Damn, I miss Jon Peel and his nightly radio show.

In all seriousness, my issue with the construction of this show now is that it flaps wildly back and forth between (a) portraying Don Draper as a blank, Zelig-like, force of nature that nobody can truly know, and (b) trying to construct an interior mental life for Don Draper with some kind of narrative consistency. The writerly point of view makes no attempt lately to reconcile these two perspectives. Sometimes we get episodes showings some wildly revealing psychological motivation for Don, sometimes we get episodes where he's the monster from /Cloverfield/, trashing everything around him but never seen from the inside.

I have gotten sucked in by too many shows that write themselves into a corner over the course of four or five seasons in this way (/LOST/, /The Sopranos/) and then completely chicken out on any attempt at resolution in the end, then try to pawn the whole mess off as complex writing and ambiguity. Honestly, I suspect it is one part laziness and one part just enjoying jerking the audience around, and one part sheer terror at realizing how far the shit has gone.

One could try to make a clever point about how /Mad Men/ enacts through its structure, the same sort of disintegration of the notion of a unified self and the modernist image of Man that was happening in the 60's. One could make a point about a /Rashoman/-like series of interpretations as Don's actions are seen through the various other characters, versus his increasingly collapsing sense of self. One could, but I'm just not feeling it lately. It just feels like unsatisfying noodling.

I've found among other long-time followers of the show that each has a character, story situation or aspect of the show that they like that changes or disappears. I think of the show as novelistic because there's no guarantee that any favorite feature of the show will survive the consequences of events the way that we've been so used to seeing as far as most tv series are concerned. Eventually, the show's conclusion--in a year or so--will be like a period at the end of a sentence, allowing us to better evaluate the statement once it's completed.

I just saw the direct to video DC animated movie Superman Vs The Elite.

I highly recommend this! Top, and unique animation, great writing, great action, and focuses on the reason why we need Superman to be exactly as he is. A force for peace.This is how the movie needs to be.

Also, I must concur about Young Justice, that cartoon is a hell of a lot better than it needed to be, hell its better then the comics. That is saying a lot!

Yeah, I saw that too. How could I not? Very much would love to know your participation and experiences doing this project, but you probably cant divulge any of that info. Can you?What color scripts are yours? And more importantly, what is a Color Script? Not familiar with that term.

I'm looking forward to the Dark knight returns project, the fact that they split it into two parts is encouraging, I'm liking the voice casting they are doing, but i think it was premature to showcase some of the voice work. Most of it seemed off to me, like the voices didn't fit the characters in the samples given, but i'm sure it will all fit once the animation is included.

Also, i've been wondering for the last few days which people deserve the credit for how well made Superman VS Elite really is.Cause in all Honesty, up to this point, I had been a little dissapointed with the Direct to Video DC cartoons, especially the ones adapted from Comics. I don't hate them or think they suck, I love them all, but their was something lacking in the story, like something was lost in the translation from Comic to animation. It's hard to explain what I mean,But for SVSTE, I've decided to give most of the credit to writer Joe Kelly and director Michael Chang. Unless, someone else knows something I don't.

Interesting, I just noticed that the director for The Dark Knight Returns is Jay Oliva but his profile in IMDB shows that he has been a Storyboard Artists for many animation projects and some movie projects, so this is his first shot as director. He must have really impressed the bosses.

Color scripts are just color thumbnails made for a movie to figure out the arc of the color pallet. I can't post any DKR ones until the movie is released, but I have some I did for some "Batman: The Brave and the Bold" episodes:

Part 1 of DKR will cover issues 1 & 2 and part 2 will cover issues 3 & 4. The movie will expand some stuff that were only a couple of panels in the comic. We really worked hard to be as faithful to the original book as possible. I know there will always be haters, but I think people will really dig it.

Manchester kicks the snot out of wankers? Is Lex Luthor now a tosser? Is the Green Arrow a bit of a twat? Is Superman's Ice-hole of Isolation now his gaff, and Lois his bit of crumpet? Is Doomsday a hard bugger that needs a good sorting out? Is Perry White now a gobshite?

Stop trying to fit in, Clark...it's not working, mate!

It's a small planet: McNulty, from The Wire, lives just around the corner from me. I had to share this nugget-of-nothingness with you lot as, strangely, it cheered me up the other day when his neighbour, a good friend of mine, told me.